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View freely available titles: Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. Using these case studies, she demonstrates a variety of facial, vocal, and gestural strategies that these performers deployed as "the funny girl body [was] becoming sexy"—including comic dance sequences often parodic ballets of Swan Lake , racial impersonation like Tucker's blackface performance , and the foregrounding of stereotypical negative elements of Jewish women such as sexual apathy Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Oxford University Press, ; pp.

In lieu of an abstract, here is a brief excerpt of the content: In her first chapter, she uses performance ethnography to examine New York's Jewish neo-burlesque circuit. The fifth chapter engages interlocutors like Ariel Levy Female Chauvinist Pigs and Jane Ward in the feminist discourse on pornography and its cultural implications. Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. Exploring case studies ranging from the "downwardly mobile" Jewish neo-burlesque performers to the capitalistic Porn Princess Joanna Angel, Schwadron argues "that what is so funny about Jewish girls is their self-conscious looks and internalized cultural anxieties about failing to fit in, when fitting in is trite and tiresome for emboldened women who would rather strive to be comically eccentric" As a scholar-practitioner of dance, Schwadron is exceptionally attuned to "the inseparability between doer and the thing being done" They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'. The resulting text is an unparalleled example of scholarship that thematizes the liminal position of an ethnographer in a way that is productive and not apologetic. Chapter 3, "Comic Glory and Guilt ," follows the developing Sexy Jewess through the next thirty years, during which the glory of celebrity platforms is tempered by the guilt of mainstream white access. Oxford University Press, ; pp. Addressing the archival evidence of her case studies in the next two chapters, Schwadron takes a historical approach. Her ethnographic method allows her to attend to [End Page ] her subjective position as "not in the show but not quite simply a spectator either": In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. Exemplifying this heightened sensitivity to embodiment, she skillfully analyzes both the implied Jewishness of the film's characters and the somewhat public Jewish identities of the four lead actresses. Her methodological innovations here are one of the book's greatest strengths, as she "pushes against a range of disciplinary codes that demand objectivity [and] suspect the feeling body," giving readers vivid descriptions suffused with pointed insights about both the objects of analysis and her own subject position as a scholar You are not currently authenticated. Although not a study of traditional concert dance, this text exemplifies the potential for analysis of embodiment and choreography throughout a variety of pop-culture media. Using these case studies, she demonstrates a variety of facial, vocal, and gestural strategies that these performers deployed as "the funny girl body [was] becoming sexy"—including comic dance sequences often parodic ballets of Swan Lake , racial impersonation like Tucker's blackface performance , and the foregrounding of stereotypical negative elements of Jewish women such as sexual apathy Analyzing interviews and Hannukkah-themed performances by the Schlep Sisters, Nice Jewish Girls Gone Bad, and others, she explores the way that the nostalgic form of neo-burlesque also traffics in comic nostalgia for a period in which Jews were not yet wealthy or white. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Focusing on Jewish pornography star, director, and magnate Joanna Angel, this chapter explores the Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. View freely available titles: And how does sex link to humor in order for this update to work? Sensitive to the differing demands of her multimedia case studies, Schwadron takes an aptly mixed-methods approach. Chapter 4 draws on queer theory and scholarship theorizing horror films, performing a close reading of the mainstream ballet movie Black Swan to highlight "horror plots of Jewish racial passing and sexual deviance"

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Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

Exemplifying this heightened sensitivity to embodiment, she skillfully analyzes both the implied Jewishness of the film's characters and the somewhat public Jewish identities of the four lead actresses.

Chapter 4 draws on queer theory and scholarship theorizing horror films, performing a close reading of the mainstream ballet movie Black Swan to highlight "horror plots of Jewish racial passing and sexual deviance" Exemplifying this heightened sensitivity to embodiment, she skillfully analyzes both the implied Jewishness of the film's characters and the somewhat public Jewish identities of the four lead actresses.

At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Using these case studies, she demonstrates a variety of facial, vocal, and gestural strategies that these performers deployed as "the funny girl body [was] becoming sexy"—including comic dance sequences often parodic ballets of Swan Lake , racial impersonation like Tucker's blackface performance , and the foregrounding of stereotypical negative elements of Jewish women such as sexual apathy